The movie PRETTY WOMAN is the Perfect How-To Book: Plot Points–Connecting the Dots Beginning to End–4 Part Series

By Patricia Waddell 
 

A few years ago, I had an opportunity to attend a seminar on Screenwriting. One of the presenters was Garry Marshall, the director of the movie PRETTY WOMAN. During the course of that three day event, I realized that Screenwriting wasn't my niche, but I also realized that many of the things I learned could be used in writing a romance novel.

Keeping with the idea that a picture is worth a thousand words, we are going to focus on what made this movie so popular, along with the elements that can be transferred from the Silver Screen and used in our own books.

Theatrical productions are delivered in three acts. Act One introduces the characters and the problems they will face (the Setup). Act Two complicates the problem - this is the longest portion of any stage play, and Act Three solves the problem (the Resolution).

Unfortunately, most writers think of their books in thirds - a beginning, a middle, and an end. I'm going to suggest that you cut the pie a bit differently. Think of your book in quarters (I'm going to use a 400 page ms, but the percentage is the same no matter how many pages you write.) The first 100 pages (1/4) is your Act One, the next 200 pages is Act Two (2/4), and the last 100 pages is Act Three (1/4).

Thus begins the lesson: What is a scene and what is a plot point?

During the course of the Screenwriting seminar, a young man who worked as a local cameraman, and who hoped to make the leap to Hollywood, asked Garry Marshall what he focused on in each scene. Mr. Marshall's reply was "the plot point." I immediately held up my hand, and, displaying my ignorance to the entire room, asked, "What is a plot point?" This is the answer I received.

"A PLOT POINT IS ANY ACTION OR REACTION, PHYSICAL OR EMOTIONAL, THAT MOVES THE STORY TOWARD THE RESOLUTION."

Sounds simply enough. And it is, once you grasp the idea and begin using it.

What about a scene? Again, I will defer to Garry Marshall's definition. A SCENE IS DEFINED BY THE BACKDROP BEHIND YOUR CHARACTERS.

Think of a grade school play. A paper curtain drops. You see a yellow sun and green trees - it's day. A little later, another curtain drops and you see a silver moon painted on dark blue paper. It's night. A change of scenery. That's what a scene is - the backdrop, or curtain, behind your characters.

If you begin a chapter with Lord and Lady Such-n-Such in a carriage, then continue with them getting out of the carriage and going into a lavish London home, you have 3 scenes: the carriage, the couple leaving the carriage, and the couple inside the house. These actions will not be shown by the usual scene break we all think of in a book - the double spacing that denotes a change in time as well as scenery. Try to imagine a cameraman following your characters around - how many times does the curtain change? That's how many scenes you have.

Scene changes have nothing to do with POV changes. You can switch from female POV to male POV a dozen times, as long as you keep your characters in the same place, you're in the same scene.

So, what's the connection?

Every scene has to have at least one plot point. You can have more, and should - lots of them, unless the scene is a very short one. But the rule I learned, and the one I use each time I write, is that without a plot point, the scene is a waste of paper. If something isn't 'happening' between your characters, if they're not acting and reacting to one another, then the scene isn't moving your story forward - rewrite it or toss it out.

Now that we know what a plot point is, what about the plot used in the movie PRETTY WOMAN?
Again I'll borrow Garry Marshall's explanation, since he directed the movie, he should know.

"PRETTY WOMAN isn't a story about a prostitute who falls in love with a millionaire, it's the story of a millionaire who falls in love with a prostitute. It's Cinderella gone Hollywood, but the main character isn't Julia Roberts, it's Richard Gere."

Surprised? Once we start analyzing the plot points, you'll discover that the majority of them center around Richard Gere's character - Edward. Although Julie Roberts stole the movie with her dynamic screen presence, she didn't steal the story.

This is Edward's journey. He's the one who makes the biggest chances, faces the biggest obstacles, and comes away a different man. Although Julia Roberts adds charm, wit, and beauty to the story, the real "storyline' is the emotional journey taken by Edward. It's his transformation, not hers. Vivian does take a journey, but it’s a much shorter one. At the end of the movie, she’s no longer a bum magnet.

It's not a complicated plot, but it is a very effective one. Pretty Woman is one of the most successful romance stories to ever hit movieland.

Once we begin charting the plot points, I think you'll agree. The next issue of The Launch Pad will have the curtain going up on Act I of Pretty Woman. Until then, keep the popcorn hot and the Gummie Bears close at hand. I’ll be back with the decisive Plot Points in Act I of Pretty Woman – the perfect how-to book!

PART 2

If you’re following my articles on Plot Points, then you’re in your seats, waiting for the curtain to go up on Act I of Pretty Woman.

As we move through this segment, and follow the plot points, think of the Scenes in your book - every scene has a reason - a plot point - every scene builds the story to the conclusion.

PLOT POINTS  ARE THE BUILDING BLOCKS THAT CONSTRUCT YOUR PLOT. THEY CAN BE DIALOGUE, AN EVENT, THE INTERACTION BETWEEN A MAJOR CHARACTER AND A MINOR CHARACTER - ANYTHING THAT FORMS A PEAK OR VALLEY IN YOUR PLOT LINE.

What do I mean by peak or valley? We write in peaks and valleys, actions and reactions, punch and counter punch. He said - She said. He thought - She thought. He kissed her. She slapped him. Both of these sentences could be a plot point.

Not all plot points are the same. They don't carry the same weight or have an equal impact. Again think of peaks and valleys - a mountain range. When you look at the Rocky Mountains, not all the peaks are the same height. Plot Points are just like a mountain range - they create a varying image, not a straight line. Another analogy would be an electro-cardiogram. Every time your heart beats an image forms on the screen. What is it? A peak, then a valley, then another peak. If you go flatline - you're dead!

If you think of your book in peaks and valleys and begin to connect the dots, you will begin to see the flow of your story, the plot line, the graph upon which your characters move.

In listening to Garry Marshall at the seminar, he revealed that Pretty Woman has at least 60 plot points - that means a plot point every 2 minutes. So how many plot points can appear in a full-length romance - hundreds. Don't let the number intimidate you. They are not as hard to write as you think.

Note: I will not be outlining each individual plot point, but will be giving you examples.

ACT 1:
The very opening scene of Pretty Woman shows people at a Beverly Hills party. The first line of dialogue - and it's easy to miss if you're not listening is: "It's all about money!"

Keep this line in the back of your mind. The majority of plot points in Pretty Woman are delivered via "dialogue". That shouldn’t surprise you. Dialogue is one of the most powerful tools in a writer’s bag of tricks.

Okay, no more stalling, here comes the plot points.

A - Setup scenes: Edward at the party having a conversation with his soon to be ex-girlfriend. We know from his 'dialogue' that he isn't a man who commits himself to personal relationships.
B - that point is reinforced when he stops to talk to another ex-girlfriend who has married.
C - He takes his attorney's car, heading away from the party.
D - Hollywood Blvd. and the man talking about "dreams coming true." This establishes the theme of the story we are about to see. Again, it's dialogue.
E - We see Vivian - and immediately the contrast of characters is established. From a millionaire to a prostitute.
Note* This is all done within the first few minutes of the film.
F - The H/H meet on the Blvd.
G - Ride in car to hotel - we can see that these two people have nothing in common, but note that Edward seems more fascinated by Vivian than Vivian is of him.
H - He moves away from the hotel entrances to the park bench and invites her up for the night.
I - They enter the penthouse.
J - She immediately goes out onto the balcony (keep this in mind because the balcony is very symbolic in this movie).
K - Edward admits that he doesn't go out on the balcony - He's afraid of heights. *** This is a big plot point because it implies that he's also afraid of something else - commitment.
L - Vivian wants to get on with business - suggests that he pay her to break the ice.
M - Edward feels awkward, he suggests that they talk.
N - She drinks down the champagne, showing again that she's out of her element.
O - Bathroom scene - he thinks she'd hiding something. When she isn't, he admits that very few people surprise him.
P - We see Vivian watching I Love Lucy reruns while Edward is on the phone, conducting his business.
Q - He finds her laughter contagious, moving away from the phone and onto the sofa.
R - Vivian cuts off the TV, sensing that he's finally ready to get on with things.
S - She tells him that she doesn't kiss on the mouth. Again, this is a very big plot point. Why? Because it establishes the rule that Vivian will break in the name of love.

The end of Act I shows Vivian kissing Edward - but not on the mouth.

Hopefully that's enough examples for you to see what I mean by plot points - not big explosions of activity - but actions and reactions between your characters. Things happening in a systemic way that both build your characterization and reveal your theme at the same time.

The scene in the Penthouse is broken up by the bathroom change of scenery, then a return to the living area of the penthouse - no big break - but an even flow of action/ reaction - lots of plot points while the curtain behind the characters remains intact. That's why long scenes need to be packed with plot points. If not, they grow stale and your reader will want to move on. Which means they will either skim the pages or put down the book - not a good thing if you want them to buy your next one. Also realize that there are male plot points and female plot points. If your story is heroine driven, then you will want the more dramatic plot points to focus on her heroine. If hero driven, then the process is just the opposite.

Act I ends 30 minutes or so into the movie. This is not an accident. The movie is approx. 120 minutes - 30 minutes is 1/4 or 25% of the way into the story. Beginning to get the picture? Think about your story as a movie. See it in your head, and you'll be able to identify your plot points more readily. You won't bog down or slow down.

Next month the curtain goes up on Act II – this act is packed full of plot points. We will also look at the secondary characters in the movie and how the H/H act and react to them. Until then, keep the popcorn handy and don’t forget I like mine with lots of butter.

PART 3

Act II – Pretty Woman
So, got your popcorn? If not, I'll give you a moment to run to the microwave and toss in a bag.
Okay, Curtain Time

While the stage crew is pulling up the curtain, I'll give you an idea of where Act II will take us. As I said in the Intro Segment, Act II complicates the problems that have been either introduced or referred to in Act I. It is also where the main secondary characters will begin to take their places on the stage.

Main-Secondary characters may sound a little confusing, but bear with me, as I explain. There are secondary characters and there are secondary characters - some explanation, right? What I mean is that Act II is where we begin to separate the Important Secondary Characters from the Not-So-Important Secondary Characters or as I often refer to them – potted plants.

The criteria is this - the Secondary Characters who either HELP or HINDER your H/H are the characters that should surface and take their rightful place in the scheme of things. Thus your Main-Secondary Characters.

Pretty Woman has 4 Main Secondary Characters: Kit - Vivian's friend, the attorney, the hotel mgr, and the limo driver, Darryl.

Each of these characters has an important part to play in the Resolution of this film - they directly effect what the H/H do or don't do.

As we lay out the plot points, we will see these characters come into play.

Curtain Time - ACT II

The curtain goes up the morning after Vivian and Edward have had what we assume is a night of fun, unemotionally involved sex. The stage is set with the breakfast table, Edward is already at WORK, Vivian comes drowsily out of the bedroom.

Edward remarks that he got some sleep on the couch. This tells us that he didn't spend the entire night in Vivian's $300 arms. It also tells us that even though he might have enjoyed having sex with her, he doesn't want any sort of attachment.

She's amazed by the amounts of money he handles - mentions that his parents must really be 'proud' of him (Big plot point because later in the movie, the businessman he is working with says “ . . . might sound corny, but I’m PROUD of you”.

Vivian admits that she only made it to the 11th grade. (This plot point, again done in dialogue, reaffirms that these two people are social opposites. We also get the impression that Vivian regrets she didn't finish HS.

*** Scene Change to Bathroom ***
She helps him with his tie and they discuss what he does for a living. BIG PLOT POINT because her response is "Sounds like stealing cars and selling them for parts."
Why is this Plot Point so BIG - because it foreshadows the journey that Edward is going to make.

*** Scene Change ***
Edward on telephone talking to his lawyer - needs a date for that evening.

*** Scene Change****
Vivian in Tub - singing very badly !!
Edward hires her for the entire week.

*** Scene Change ***
Vivian stands at the door in her bathrobe, and tells him that she's going to treat him so good he won't let her go.
BIG PLOT POINT ON ITS WAY ~  He responds "Six nights, $3000, and I WILL let you go."
Why BIG - because this is one of the rules that Edward is going to break in Act III.
Note: Both Characters end up doing something they've told the other 'they are not going to do.'

*** Scene Change ***
Vivian does a happy dance on the bed, then reaches for the phone

*** Scene Change ***

 I thought if I pointed these out to some people, it might make it easier for them to see that one scene can have multiple plot points or only one, and that scene changes are actually changes in scenery, not point of view.
The change takes us to the apt. Kit and Vivian share, and we see Kit sleeping with a Teddy Bear.
Why the Teddy Bear - because the writer wanted us to see that prostitutes are as human as anyone else - and that makes them vulnerable to the same emotions - like having dreams and falling in love.

*** Scene Change ***
Shopping Spree on Rodeo Drive - Vivian gets 'put in her place'

*** Scene Change  ***
Vivian has her first encounter with the hotel mgr, as she's walking through the lobby

*** Scene Change  (from lobby to mgr's office) ***
Mgr. arranges for her to buy a dress (we see a person who could have been a foe, turned into a friend)

*** Scene Change ***
Store where Clerk is waiting to help Vivian

*** Scene Change ***
Vivian finds the mgr for a second time and tells him that she has a problem.

*** Scene Change  ***
Mgr. is helping her with her table manners

*** Scene Change  ***
Mgr. greets Edward in the lobby, refers to Miss Vivian as an 'intriguing' young lady.

*** Scene Change  ***
Edward & Vivian in lounge

*** Scene Change  ***
Restaurant - having dinner with businessman and his nephew

*** Scene Change  ***
Balcony: Get ready for another BIG Plot Point
Edward in chair, just outside the door (this lets us know that he's only started his journey. He's got a long way to go before he gets over his fear)

Vivian on balcony wall - smiling, laughing, teasing him about his fear of heights. This shows us that Vivian isn't afraid of life - good or bad, she's willing to experience it.

They discuss his father, and we see the first signs that Edward may be vulnerable

Edward makes the remark that they both 'Screw people for money', but we've already seen enough to know that these two people are opposites in more ways than they are alike, so the statement is an ironic one. The scene ends with Vivian suggesting a cozy night in the penthouse.

Edward declines the invitation

*** Scene Change  ***
We see Vivian watching a mushy 'happy-ever-after' movie.
She calls downstairs, looking for Edward - it's 3 in the morning.

*** Scene Change  ***
Vivian exiting elevator with the bell boy pointing her toward the lounge. Although he doesn't say much, we can tell by this character's body language and facial expressions that Vivian can add his heart to the other ones she's collecting at the hotel.

*** Scene Change  ***
Lounge - Edward is playing the piano (Big Plot Point - Edward has a sensitive side) He affirms this when he tells Vivian that he only plays for strangers.
They have a little love making on the piano - Edward tries to kiss her on the mouth
Big Plot Point - Vivian turns her head aside.

*** Scene Change  ***
Following morning - When Edward offers her his credit card to go shopping, Vivian tells him that they were mean to her when she went shopping the previous day.

*** Scene Change  ***
Edward is almost dragging her down Rodeo Drive (this is another big plot point - his protective instincts are starting to show. How dare someone mistreat 'his woman.)
We see them in the store, Edward insisting that the mgr. make her feel important.

*** Scene Change  ***
Edward and his attorney in meeting.
Edward hesitates to make the phone call that will seal the deal - Big Plot Point: He's beginning to soften, but he isn't ready to admit it to the attorney or to himself - yet.

*** Scene Change  ***
Bathtub - They talk about his father. Edward tells her about his childhood.
Polo Club - Both Edward and Vivian are smiling and have a good time.
Edward makes the big mistake of telling his attorney that Vivian is actually a hooker.
Attorney teases her about it, making her feel uncomfortable. 

*** Scene Change  ***

Argument as they enter the penthouse
Vivian gathers her stuff and gets ready to leave
Edward tosses her 'fee' on the bed.
She walks out without it.

*** Scene Change  ***
He follows her to the elevator and apologizes - something we know he doesn't do very often, if ever.

*** Scene Change  ***
They have a meaningful conversation in bed, after making love.
Vivian tells him that she's always been a bum magnet.
He tells her that she had potential.

*** Scene Change  ***
He leaves the office early, his attorney asks if he's taking out the hooker.
Edward warns him to be careful.

*** Scene Change  ***
Penthouse - just before going to the opera. Edward temporary gifts her with a beautiful, expensive necklace. Notice that this is a temporary gift - he still expects their relationship to end in a few days.

*** Scene Change  ***
We see them walking out of hotel arm in arm.
Hotel mgr. watches with a smile on his face.

*** Scene Change  ***
Airport - getting in private jet, little or no dialogue (this is a transition scene)

*** Scene Change  ***
Opera House - why are they there? Because Edward wants to share his love of music with Vivian - this is a very Big Plot Point.  He's giving of himself - not his wallet, but a tiny bit of his heart.

Vivian cries - Edward watches her reaction.

*** Scene Change  ***
Next day Edward takes a day off work - he's never done this before.

*** Scene Change  ***
Attorney's reaction (not a positive one)

*** Scene Change  ***
Hotdogs and a walk in the park

*** Scene Change  ***
Penthouse again - Vivian comes out of bathroom to find Edward sleeping.
SHE KISSES HIM ON THE MOUTH!!!
(She is now breaking the rule she established in Act I).

Before she falls asleep, she tells him that she loves him.

END OF ACT II

Note that if we were writing this story, most of the scene changes could have been done with a transition sentence, not a double-spaced scene break. We see these sort of scene change all the time – pick out a book and count them for yourself;  He stepped into the library and found --- waiting. He walked from the barn to the cabin. He got into his car and drove across town.

The characters are moving and the cameraman is following them. If you were writing this story, would your reader be following you - turning the pages !!!

Are you beginning to see the connecting dots? There are a lot of Scene Changes - each time we put Edward or Vivian in a different place (even if it's only for a few minutes) we have to have them there for a purpose.

Each Scene Change, each purpose, allows us to identify another character trait, or another problem. Both the story and the characters are on the move.

We see that Vivian is fun and willing to laugh at herself, but she's also very sensitive to what other people think of her. She gets teary-eyed - she cares.

We see Edward doing impulsive things (things we sense he wouldn't do under normal circumstances) like getting involved with a hooker. Like the hotel mgr. and the elevator boy, Vivian is drawing him toward her.

We begin to realize that Vivian isn't just a bum magnet, she's a people magnet.

The plot points (the small bits of action/reaction) are beginning to form a picture, an image of two people who both have needs and desires and dreams, and that's what a good romance is all about.

If you study theatrical productions, you will notice that most playwrights always Hook the end of Act II with something - a revelation (not the turning point) but something big - why? Because they want you to come back to your seats for the beginning of Act III.

 Act II does not sag - not so much as an inch in this movie - the scene changes, the constant disclosure of character personality, possible problems, emotions getting in the way, and the foreshadowing that Edward may just do something really crazy, like falling in love with hooker, keeps us glued to the couch.

As I said before, this movie is the perfect How-To book.

Until the curtain rises again, I'll be in the lobby, stocking up on chocolate covered raisins and more popcorn. Do you want butter on yours?

PART 4

Hello Everyone – Welcome back to the last installment of my PLOT POINT articles.  

In presentation of Act III, I've decided to follow the rule of a playwright and have a small intermission before the curtain goes up again. During this intermission we will look at one of the key elements that takes place in ACT III of any production, be it stage, screen, or romance novel - the Turning Point(s).

What is a Turning Point? I describe it as that SPECIAL MOMENT in your story. You may have heard of it as the 'black moment' or the 'pivoting moment.'  Remember the mountain range analogy? Plot Points form a mountain range throughout your story, peaks and valleys of action/ reaction. Think of the Turning Point as Mt. Everest of your plot line - the Highest Plot Point you will write. From this point on, the story should flow downhill to its resolution. That doesn't mean that your plot points have stopped, it simply means that any points you use after the Turning Point should have less impact than the Turning Point.

The rule of thumb used by most screenwriters is that the Turning Point should come in the last 1/2 hr of the film or about half way between the opening of Act III and the end of the act, itself. If you give the Turning Point too soon, your reader will have too much story left, and feel disappointed. "You're dragging this out, come on, I know the ending is here somewhere."

All of us have read a book, then put it down, and thought that it had one too many chapters. This could be blamed upon an author placing his/her Turning Point too soon in Act III and dragging out the conclusion.

Another thing to consider about Turning Points is that each of your main characters, Hero and Heroine, should have one. Both H/H should be making a journey, even though as in Pretty Woman, they may not be a journey of equal distance.

This is the concept I use: If the story is Hero driven, then your Hero is making the longest journey and his Turning Point should be the highest (Mt. Everest). The Heroine's Turning Point would still be a Major plot point, but more like Pike's Peak - not as high as the Hero. Just the opposite is true if your Heroine is the driving force. She scales Mt. Everest, and your Hero climbs Peak's Peak.

Another element is multiple plot lines. If you are writing a romantic suspense or mystery intrigue, then you have two (2) sets of plot points. One set drives your romance forward, while the other set drives your mystery/suspense forward. THEY PEAK AND VALLEY AT OPPOSING INTERVALS. When your romance is on top of the world (such as in a love scene) your mystery/suspense is in the valley. When your mystery/ suspense is on top, your romance is in the valley. Think of a carousel. Beautifully painted horses going up and down - but they move to the same music.

The curtain is about to go up on the final act of Pretty Woman. You will see two Turning Points tonight - One in dialogue, the other in action and attitude.

The action begins with a new morning: Vivian, having proclaimed her love for Edward in the closing scene of Act II, is again shown at the breakfast table.

A reference is made to their original agreement - their time together is drawing to an end.

Edward asks Vivian to be his mistress, but Vivian doesn't jump at the opportunity.

Scene Change
Balcony: Vivian tells Edward about her childhood dream, of having a handsome prince rush to her rescue. Edward's facial expression and dialogue reveal that he's made some progress, but he isn't there yet.  

Scene Change
Kit in the hotel lobby, giving us a glimpse of the life and attitudes that Vivian will return to if she doesn't take Edward up on his offer.

Scene Change  

Kit and Vivian at pool.
The reference to Cinderella and the seeming impossibility of Vivian's dream.

Scene Change 

Edward at business meeting.  

TURNING POINT FOR EDWARD - His decision to build ships instead of tearing a business apart. This decision isn't a direct reaction to anything Vivian is doing or saying at the time (she isn't in the scene). It is an indirect reaction to what he had learned about himself during the time he’s spent with her. There is nothing Black about this moment - it's a revelation. Edward leaves the meeting with a smile on his face. He's at the summit of his journey, but he still hasn't finished it.

Note: If you use a personal moment rather than a 'dark' moment as your turning point, then the circumstances for either the H/H have to be irreversible. Once they make the decision, whatever it is, there can be no turning back - that's why it's called a turning point. 

Scene Change
We see Edward in the park - shoes off, toes wiggling in the grass. He feels 'free', he's done a good thing and he knows it. This is a very positive plot point, and the biggest change Edward makes in his professional life. Remember the first line of dialogue in the movie, the one I referred to in the introduction segment. "It's all about money." That's what Edward had to change - his attitude about making money no matter how he made it - it's always easier to destroy than it is to build. The Turning Point for this hero is an inner journey, finding himself, and what he can offer to others. He's redeemed himself in his professional life - now he has to move on and redeem his personal life.

Scene Change   Penthouse

Vivian answers the door to find the attorney. 

He's furious that Edward didn't go for the kill. He takes his frustration out on Vivian.

She refers to the Penthouse as 'home.'

The attorney shatters the last of her dreams by reminding her that what she considers home is nothing more than an expensive hotel room.

The attorney makes a move on Vivian. They're struggling on the floor when Edward comes charging to the rescue, hits the bad guy, and throws him out of the penthouse.

Edward consoles Vivian with an ice pack. Again, a physical act, not the emotional one she needs.

Vivian packs to leave.

FEMALE TURNING POINT: "I want the fairy tale."

(Five little words, but they turn the story around)

Vivian has reached a major decision, just as Edward did earlier. All the condos, penthouses, jewels, and expensive clothes in the world can't replace love. "I want the fairy tale." I want love. If you can't love me, then let me go.

Scene Change

Sitting on the steps in front of the penthouse door - Vivian is ready to leave.

Edward asks her to stay one more night, not because he's paying her, but because she wants to be with him. (He's still offering her physical love, not the emotional security she needs).

Vivian declines. "I can't."

He gives her his business card, telling her to call him if she needs 'anything."  (Note the irony of the business card.)

Scene Change 

Vivian saying her goodbyes to the hotel manager. The manager uses the words, "Darryl will take you anywhere you want to go," suggesting that Vivian has a future, that her life isn't going to end when she leaves the hotel.

It's suggested that Darryl drive her home. (Note: Darryl doesn't say much, but remember, this man had been with Edward and Vivian every time they're ventured beyond the hotel - driving them to dinner, to the polo game, to the airport for their flight to the opera. He's been a silent observer of them falling in love. That's his part in the story - being there for them, all the way to the end).

Scene Change  

Vivian alone in the limo.

Scene Change

Edward in the Penthouse on his final morning in Hollywood. He's on the balcony - he steps a little closer than usual and takes a 'hesitant' glance over the railing.

Scene Change

Edward in lobby at hotel desk. The necklace Vivian wore to the opera (her temporary gift) is revealed for a second time.
 

Hotel Mgr "It must be difficult to give up something so beautiful."

Note: This is what I call the 'nudge." A writer using a secondary character to give the H/H that final push. It's used in a lot of books.

The hotel mgr. delivers another: "Darryl will be glad to take you anywhere you want to go." The exact words he said to Vivian the previous day.

Note: The hotel mgr. doesn't say, Darryl will take you to the airport, but instead uses the phrase 'anywhere you want to go." It's his way of telling Edward that if he's smart, he won't leave town without the woman he loves.

Scene Change  Edward in limo - alone. (Again a duplicate scene of the one we saw earlier with Vivian)

Scene Change   Vivian and Kit in their old apt. Vivian is telling Kit goodbye. She's ready to get on with her life with or without Edward. She's regained her confidence, even though her heart has been broken in the process. This shows her strength as in individual.

Scene Change   Hollywood Blvd - Edward walking by Kit (they'd never met before) to buy flowers.

Scene Change   Vivian ready to leave for the bus that will take her to San Francisco.

Scene Change   Limo pulling up to the curb, Edward standing up, waving flowers and his umbrella, shouting for "Princess Vivian"

Scene Change   Vivian taking her place on the balcony (fire escape)

Scene Change   Edward on the street, getting ready to overcome his fear of heights and his fear of relationships.

Scene Change   Vivian waits for him to climb up to her.

Kiss - Kiss - Kiss - HAPPY ENDING !!!!!!!!!!!!!!!!!

In my opinion, PRETTY WOMAN is an excellent How-To book for romance writers. Once you identify the plot points, the structure is there for you to follow in your stories. So when you sit down to write your next scene, visualize it in your mind, then put the actions into words. You’re your own private cameraman, director, and producer. 

 Good luck and happy writing.

STAR Member Patricia Waddell is a multi-published author in both historical and futuristic romance, and a current Rita Finalist in the Short History Category – DIAMOND IN THE ROUGH. Visit Pat’s webpage at www.patriciawaddell.com